


14.12: My Friend Jimmy

by nochickflickpodcast



Series: NCFM Season 14 [12]
Category: Supernatural
Genre: (No) Chick Flick Moments, Character Analysis, Comedy, Discussion, Episode Analysis, Episode: s14e12 Prophet and Loss, Fancast, Gen, Humor, Meta, Podcast, Screenplay/Script Format, transcript
Language: English
Status: Completed
Published: 2019-11-27
Updated: 2019-11-27
Packaged: 2021-02-26 06:08:03
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 19,712
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/21578878
Author URL: https://archiveofourown.org/users/nochickflickpodcast/pseuds/nochickflickpodcast
Summary: Join us in covering S14E12, "Prophet and Loss", or the one where Nick chooses Luci as his best gal, Castiel debuts his Dr. Sexy cosplay, the Winchester brothers have a bit of a domestic, and Donatello gets forgot (...again). Wanna play a game? Tune in and join us for a rousing round of Buckleming Bingo!
Series: NCFM Season 14 [12]
Series URL: https://archiveofourown.org/series/1379836
Kudos: 1





	14.12: My Friend Jimmy

**Author's Note:**

> Complete transcript of (No) Chick Flick Moment's 14.12: My Friend Jimmy
> 
> Listen in full [here](https://www.nochickflickpodcast.com/episodes/episode/ee2c14e9/1412-my-friend-jimmy), or wherever you get your podcasts!
> 
> Website ([x](https://www.nochickflickpodcast.com/)) Twitter ([x](https://twitter.com/nochickflickpod)) Tumblr ([x](https://nochickflickpodcast.tumblr.com/))

Remmy: Okay. 

Bea: Yeah. 

Remmy: Hi. Hello, everybody. This is (No) Chick Flick Moments. I'm your co-host, Remmy.

Bea: And I'm your other co-host, Bea.

Remmy: And this is our Supernatural watchcast and, moving right along with season 14, today we are talking about season 14, episode 12: "Prophet and Loss". 

Bea: Ho man, Remmy. This was an episode that happened. 

Remmy: [laughs] This was an episode that happened. It was written by Brad Buckner and Eugenie Ross-Leming, and directed by Thomas J. Wright. The description for this episode reads: Sam and Dean must figure out how to stop the bloodshed when Donatello, who in his current condition is inadvertently scrambling the order of the Prophets. Oh wait. Oh my God, there's so many commas! Okay.

Bea: [laughs] Quick, we're having an English lesson with this one too.

Remmy: Oh my God. Okay, Sam and Dean must figure out how to stop the bloodshed when Donatello, who, in his current condition, is inadvertently scrambling the order of future Prophets. "When Donatello —" that's not a sentence! Okay. I stand by that. Okay. So. Nick comes face-to-face with his past. Guys. It took me like 3 tries to get that. I don't know how many I'm going to keep in with the edit but, oh boy. 

Bea: [laughs] 

Remmy: Anyways, this is an episode that happened, and it's a good episode. But, but — Bea, I said to Bea earlier this summer, when I knew that this episode was coming up, that this episode was definitely going to be my Buckleming Bingo episode. So.

Bea: Yep [laughs] 

Remmy: So I did in fact print out the Buckleming Bingo and as we go through I'm going to mark off some of our squares here. I'll post to Twitter and Tumblr where I'm pulling the Buckleming Bingo. Some of you might be familiar with it but it's basically some, you know, classic — 

Bea: A ribbing.

Remmy: It's a fun ribbing. It's just a bingo that has some classic Buckleming moves, some Buckleming cliches that we tend to see in some of this particular duo's episodes. Bea, I didn't actually mention this before we started recording, but if you — I wasn't joking about the Buckleming Bingo and I wasn't joking about the drinking either, because we're playing shots with every square.

Bea: [laughs] You should have told me! I'll go get my drink.

Remmy: [laughs] Yes, you can — we can definitely pause. 

Bea: Use your magic of editing. I'm gonna go get it.

[beep]

Remmy: And we're back. Bea, what are we drinking tonight? 

Bea: I have for your ASMR pleasure: [cracks seal]

Remmy: [laughs] 

Bea: I have an Okanagan apple cider, black cherry flavored. 

Remmy: Nice. See, I decided to go full Winchester. I have a full flask of Jim Beam whiskey.

Bea: Hot. Damn. 

Remmy: I've never... [laughs] 

Bea: You're going season 7 Dean here.

Remmy: I've never drank from the flask before so there might be some slurping and/or dribbles. We're going to find out. 

Bea: [laughs] 

Remmy: Also, it is straight Jim Beam, which — I'm scared. But [laughs] it was the only thing I had. It was that or vodka. Actually, I do actually have half a pint of Crown Royal Regal Apple Canadian whiskey. 

Bea: Oh, wow.

Remmy: And this one, you know [sloshing noise] comes with some nice sloshing. 

Bea: [whispers] ASMR.

Remmy: For your ASMR pleasure, but I'm gonna — for the peak Winchester aesthetic mood here, I'm going to I'm going to try to stick with the Jim. 

Bea: That's very good. Yeah. I would do something similar, except I'm such a lightweight that — I swear to God, this thing is like 5% alcohol and you will notice a difference as I go on. [laughs] 

Remmy: Oh man. I tried to — there were definitely some dribbles. Whoops. Alright.

Bea: Getting a feel for it. It's okay.

Remmy: Yeah. Yeah. All right.

Bea: Loosen up. Limber up. We got this.

Remmy: I'll save this for the Bingos. Alright. Alright. So, let's — [laughs] guys. It's fine.

Bea: We're gonna be good. We're gonna be good.

Remmy: We are. We're not going to be too salty. We promise we're going to be good. 

Bea: I don't promise, but you can promise. [laughs] 

Remmy: [laughs] But we all know — Yes, I promise to be good. 

Bea: Okay. Okay, so we start off [and] it's underwater, bottom of the ocean. You can see the Ma'lak box there and we zoom inside, [where] Dean is pounding. He looks terrified. His nails are bloody and there's water dripping, and he's just filled with claustrophobia and regret. 

Remmy: We saw this in the preview, right? In the previous episode. 

Bea: Yeah. The little stinger.

Remmy: Yeah, before this episode first aired and we were all like — so the Ma'lak box just happened. We just had that Ma'lak box reveal, and then for the preview in the next episode we see Dean in the Ma'lak box.

Bea: Yeah, it was like, "Oh, s***! You guys followed through?"

Remmy: Oh, s***, I know.

Bea: "But you couldn't have followed through."

Remmy: We open up underwater and they are not pulling their punches here. We have this extended scene of Dean just panicking and it — oof.

Bea: It feels really Kill Bill Volume 2 to me, when she wakes up in the coffin — the bloody fingernails, that whole thing. I was like [cringe] yeah, got those vibes. 

Remmy: Yeah. Yeah. I got those chills. 

Bea: Yes.

Remmy: And Dean pulls out a phone, or he's using his phone as his illumination.

Bea: Light source.

Remmy: Yeah, and he's regretting this choice that he has made. He's calling for Sam, and it's just hard to watch. I mean, it's Dean. It's Jensen. He's acting the heck out of it. 

Bea: Yeah. Yeah and, doing callbacks here, I maybe think of Kill Bill, but it also made me think of season 4 episode 1, when he wakes up in the grave and is like, “Oh, s***, I need to get out.” Well, you're in coffin 2.0. This one's made of metal. You're not going to have as much luck.

Remmy: And I know that it's a favorite, in fic, to dig through Dean's probable trauma from having to dig out of his own grave, that's something that we headcanon in Dean and that was not a good experience for him.

Bea: Yeah, that's not your average wake-up call. It's not, "Okay, seven in the morning, I'm going to go — Oh, s***, I'm in a grave."

Remmy: Yeah, and now to see him back in this position and to think of the — I don't know. Not to even think of it, to see the panic in him. 

Bea: Yeah, and I keep on banging this drum, but I'm still like, Michael kept Dean drowning the whole time that he was possessed. And then this is just the same verse repeated, you know? He's just in a different format of it, but it's still that trapped underwater sensation.

Remmy: Yeah, and Dean's phone is dying and then it goes black.

Bea: Yeah, and he's calling for Sam. He's calling, "Sammy!" and he finally wakes and he finds his hand is bloody. They're in a motel room, and Sam comes out from the bathroom like, "Oh, I'm sorry I woke you up."

Remmy: Yeah. Yeah, so it was all a dream. Psych. We have a psych moment.

Bea: Yeah, we get the best of both worlds.

Remmy: Bad dream. Did he scratch — his nails are still bloody, and I didn't actually notice that on the first watch.

Bea: Yeah, he was scratching the wall there but I'm like, what kind of angle was he pulling?

Remmy: Yeah, I thought that was weird as s***.

Bea: Was he maybe on the floor? But again, that would be [noticeable] to Sam, but how do you work that angle?

Remmy: Yeah. How did — how did — I don't know.

Bea: It's for the dramatique. Feel the emotions. And so yeah, Dean says to Sam that was a bad dream and he just doesn't want to talk about it, and Sam still tries reaching out to him about, you know, it's okay to be scared, and Dean's like, "Yeah, no s***. I am scared, but it doesn't matter."

Remmy: Yeah.

Bea: And Sam just, again, he's sees that button and he's like, if I push it will it make Dean stop? Because he's saying this is going to be worse than Michael. It's worse than death because of what Michael can do to you while you're in there, and Sam is still insistent that there's another way. There's gotta be.

Remmy: And Dean shuts him down, but you're right, he's pushing that button. He's like — oh man. Sam. Through the whole episode, multiple times through this episode, his refrain to Dean is — 

Bea: "Think about how bad it's gonna be."

Remmy: Yeah, and oh my God, it's so wincy to me, but — I don't know. Sam just keeps pushing that button.

Bea: Yeah. Again, I feel like we're going to talk later about what kind of mental strategies were going on between all the characters here, but it was a really rough button to see pushed when you can tell that Dean is visibly shaken from the dream that he just had. 

Remmy: Yeah, and even later — here and later — Sam is like, "I know you're scared," and then as soon as Dean pushes back on that...

Bea: Says, "Yeah."

Remmy: He says, “Yeah, but it doesn't matter.” So I guess Sam didn't get the response he wants, so he doubles down and just starts being vicious, like... [cringes]

Bea: But I don't think he even sees it as vicious. But yeah, I'm, this — I'm getting into this later and I am ripping into it.

Remmy: Uh-huh. 

Bea: It's a small note before I move on to this, but I — for a second, it took me a bit to place where they were because this seems like a really big motel room. 

Remmy: I was gonna say, it's nicer than their usual fare. 

Bea: Yeah.

Remmy: Ooh, wait, pause. "OOC-ness." I have a bingo square: Sam's OOC-ness and how he is treating his poor brother. Okay, go ahead.

Bea: Well, I felt like the motel room, it was really big and it was really blue. So I'm like, ocean vibes. And that was it.

Remmy: Ohh. I just thought it looked kind of nice, but... [laughs] 

Bea: I thought it looked nice too, but it was very blue and I feel like that was intentional with the dream.

Remmy: Oh my God. I hate you. 

Bea: Yeah, no probs. Should we go on to the next scene? 

Remmy: Yes.

Bea: Okay, cool. I'm — we're speedrunning through this one, we're clipping through. All right.

Remmy: Are we though? Are we though? [laughs] 

Bea: You let me know, okay? We start off with this woman who is bound and gagged, and she's whimpering. A man [is] pouring salt into this large industrial vat, and he hoists her up and sets her inside. He grabs a knife, carves into her arm, and then dunks her. He just has this dead-eyed, middle-distance stare as she drowns, and there's these whispering voices around him. 

Remmy: Yeah, how is "Prolonged Torture Scene" not one of these bingo squares? I mean, come on, guys.

Bea: There's gotta be something violence-related on there.

Remmy: Is there? I don't see it. Yeah, we need something violence-related. No. Classic Buckleming, we have this extended, violent, horrible death scene — 

Bea: And we don't have any context for it yet, so it's just violence for violence's sake at this moment. 

Remmy: Yeah. Yeah. Yeah, not great.

Bea: And there's this real focus on the fact that the water turns red with the bloodiness and she dies.

Remmy: We have to watch him drown her in excruciating detail, it's horrible. It's awful. I hate it. Let's move on. 

Bea: Okay. Next scene.

Remmy: Sorry, that's not fun. We're being fun this episode! Let's — [laughs]

Bea: Remmy, I don't like to dwell on this scene either. It was really hard to watch. So.

Remmy: Yeah, it was.

Bea: Carrying forth.

Remmy: Carrying forth. 

Bea: We have Nick awakening in an emergency room hospital, and there's this cop that brings him some food and sasses him, and it's noted that Nick is wanted by at least four jurisdictions and they're all quibbling over who's going to take him. Nick is doing a bit of commiseration for the fact that Lucifer, you know, "He left me, but he changed me," and the cop is just in his face about using the Satan defense. 

Remmy: Oh my God. So Nick, the first thing he says is, “What went down, none of that was my fault.” And then the cop. Oh my God. Okay. I'm circling off "Really Bad Stereotypes", yeah. There we go, because this cop comes in.

Bea: [elongated vowels] "Eyy, ya punk. Jail's gonna be worse for ya than this food." I don't know.

Remmy: [laughs] Exactly. 

Bea: Who am I? Is that Boston? 

Remmy: That was perfect. I think it's Boston, yeah. [laughs] But yeah, super bad stereotype. This guy, this cop comes in. He's just like — I can't even. I can't even attempt at the...

Bea: [Boston accent] He left his car keys in his khakis. 

Remmy: Yeah, so. But Nick says, "None of that was my fault," and the cop lays into him some more about all the things that he did and how he's going to pay for it. 

Bea: He's like, "Oh, it's Lucifer's fault because my family died, and so really if you think about it wasn't me killing those people. It was history."

Remmy: Yeah.

Bea: I'm squinting at the screen. Is this the logic I'm believing from him, or is this just [that] we're looking for the opportunity to bring up Nick's relationship with Lucifer?

Remmy: Yeah, and he pulls out the — he says, "I was chosen by Lucifer," and then he pulls out the family card and we get a single manly tear.

Bea: One manly tear. [laughs] 

Remmy: [laughs] And then we move on. 

Bea: Yes. Yes, we carry on. We are now to this exterior location. The Impala has parked because Dean presumably needs the bathroom, and he is just double-checking that Sam is onboard still. And Sam says that he and Mary hate this, and Cas and Jack don't even know yet, and Dean kind of shrugs it off by saying he's not good with the whole big goodbyes. 

Remmy: Yeah, and he says, "I don't need to get shaky on this thing."

Bea: Yeah, and Sam's like, "kay, but if you're shaky, that's a good thing. Why don't you just lean into that one?"

Remmy: Uh-huh. Uh-huh. And that — I don't know. I like that. He wasn't even going to say goodbye to Sam, right? And he wasn't going to say goodbye to Sam because he didn't want to get shaky on this thing. He — I just liked here that we extended that also to Cas and Jack. 

Bea: Yes. Yes, I agree. It was nice to at least hear why he's trying — why he kept the scope of this knowledge so small.

Remmy: Right, right. 

Bea: Yeah and, like you say, he can't give shaky on it. Dean pauses and he asserts that it's the only way for them to handle the Michael situation. And so as soon as he leaves for the washroom, Sam calls Cas.

Remmy: And I'm like, "Oooh, Sam's gonna tell Cas!" I'm so excited.

Bea: But it's even better!

Remmy: It's even better! So Cas already knows. I love it. I love it.

Bea: Yes. They're in cahoots in the background. I'm like, I love whenever Sam and Cas get to be bros.

Remmy: Cas already knows and the first thing he asks is "Did you talk Dean out of it?" And Sam just says, "No, keep looking," and they go into what Cas has been doing to try to solve this, because Sam is playing babysitter to Dean. He can't really look into it. He's just...

Bea: Yeah, he can't be obvious. 

Remmy: No. Yeah, he's just trying to make sure that Dean doesn't hop into the f****** ocean when Sam's back is turned. So he's relying on Cas to be his eyes and ears.

Bea: Research wingman, yeah.

Remmy: Yeah.

Bea: And Cas is saying — okay, you're counting on Cas, but he's having no luck. He can't find anything in the books about extracting an angel and destroying it, let alone an archangel. He's asked Rowena to check out the Book of the Damned, and she cussed him out when he asked her to just double-check, "Are you sure you didn't find anything?"

Remmy: [laughs] Well, "The woman has a remarkable command of profanity."

Bea: Oh, that was beautiful. 

Remmy: It was. Good — great delivery. 

Bea: Yes.

Remmy: And Cas says, "Sam, we don't have anything. Maybe if I spoke to Dean —" but Sam shuts him down. He says no, I've never...

Bea: It won't matter.

Remmy: “It won't matter. I've never seen Dean like this. He is — if we do not present an alternative solution, we're going to lose Dean forever.”

Bea: Yeah, Dean's going to be gone if we can't find a way. 

Remmy: Yeah. 

Bea: Okay, another speedrun. 

Remmy: Uh-huh. [laughs] 

Bea: So now we have another scene. A man is stalking this other person, this other dude. It's kind of thundering outside. It's dark at night. And the next thing we see is he's dragging this dude into another industrial room, and he's quoting the Bible as he puts on gloves. He rolls the dude onto a drop cloth. He cuts the man's throat, then curves into his chest, and there's voices and thundah.

Remmy: [laughs] And...

Bea: So we're getting some sort of religious ritual vibe here. 

Remmy: Yeah. Yeah, and the last thing that this guy says — he's hearing these voices and he raises his face to the heavens — he says, "I am the Lord." So we're like, okay. How is — how is "Oblique Reference to Scripture" not one of these squares? Ah, man.

Bea: Man, you would think.

Remmy: We need a Buckleming 2.0, a Bingo 2.0. Ooh, "Kind of Boring" is the free square. 

Bea: [laughs] 

Remmy: There we go. There we go. All right. I need a drink. Oh guys, this Jim Beam is not being kind to me. This is f******...

Bea: I've been drinking this whole time. Mhmm.

Remmy: All right. All right. So whoo, let's go.

Bea: [claps] Next scene. We get to see the Impala and how they're actually hauling this Ma'lak box behind it in a trailer.

Remmy: Uh-huh. 

Bea: I was wondering about that last episode, like, okay, so you want to drop into the Pacific Ocean but you choose Minnesota to be the place where you build it? You're going to be paying for a s***load of gas, I guess, is what [I'm trying to say].

Remmy: They're just hauling it along. 

Bea: They're a-puttering. 

Remmy: We have — I guess we haven't turned around yet, but I have some very... I have some big problems with the U.S. geography of this whole sequence of events through this episode.

Bea: Right?

Remmy: Okay. So did he say — he did say, last episode, did he say the Atlantic or the Pacific? 

Bea: He said the Pacific.

Remmy: Okay, so they're going west. All right. 

Bea: Yeah, but they're going to take a pit stop in Iowa. But we're not there yet. 

Remmy: Okay. Yeah.

Bea: And Nick was last in Minnesota, I would assume. They're not going to drive him out of state to treat his leg.

Remmy: Uh-huh.

Bea: But he's in Minnesota, and then he heads to Pike Creek.

Remmy: Waiting for extradition, I think that's the term?

Bea: Is that within the states, or is that between countries? 

Remmy: Oh, right. I don't know.

Bea: It would be extradition between jurisdictions. Look at all those words. 

Remmy: Yeah, sounds right.

Bea: We're detectives here. Been doing this for at least 10 years. I don't know. 

Remmy: So.

Bea: Impala. Trailer. Driving.

Remmy: Oh, Impala! Trailer! Driving. Dean, in the dark, and he is at the wheel and Michael is banging on those doors. We get the Michael bang-bang scene.

Bea: Yeah, that door is ring-a-dinging. Dean flinches a bit and once he recovers, he glances over to Sam in the passenger seat, but Sam's not paying attention. He's looking at his tablet. Dean has a moment to collect himself and when he does, he decides to bring up their childhood. 

Remmy: Yeah, of course he does.

Bea: I'm taking a shot whether or not that's on there. I just need it personally. 

Remmy: [laughs] Let me see. No. No, I'll tell you if something comes up. 

Bea: Holy s***. Yeah. Do we still limit 20 seconds on this one? 

Remmy: We — you know what? I don't think we're going to have much else to talk about this show, so.

Bea: This is the best scene as far as I'm concerned. This is the one that — spoilers, this is going to be my takeaway, Remmy. 

Remmy: All right. All right. I'll think of something else. 

Bea: No. No, we can...

Remmy: No, I don't have — I never — 

Bea: Chicken Parmesan, Eggplant Parmesan this one.

Remmy: Do you ever think that I have any idea what my takeaway is going to be before we record this damn thing? Never.

Bea: We hit this one and I'm bubbly enough that I'm like, I'm dibsing this one right f****** now. If you can't think of one, I'm sure I'll come up with something. But yeah.

Remmy: All right. All right.

Bea: Yeah. Yeah. Dean brings up their childhood. Like, "Hey, do you remember what it was when we were kids?" and Sam's like, "Oh, f***."

Remmy: Uh-huh.

Bea: And Dean, he seems almost a little choked up. He's doing some nervous tics where he's wiping at his face as he's speaking, and he says, "I know I wasn't always the greatest brother to you."

Remmy: Which I'm like, Dean! You were the best of us! Dean.

Bea: And Sam's like, "Hold on a sec. I'm gonna let Remmy talk for a minute."

Remmy: [laughs] Exactly. Sam comes straight to Dean's defense because Dean, what are you even talking about? You were — and this is me paraphrasing Sam. But yes, this is Remmy speaking. You were the only thing that protected Sam. You did the best you could and everyone knows that. It was — what do you — when he said, "I know I wasn't the best brother," I was like, oh my God, what the hell do you think you're apologizing for? I'm freaking out. 

Bea: He's dwelling on all the s*** that he would consider his subpar moments, you know? Because he wants to be on his A-game every single minute of every single day.

Remmy: And it's impossible, but it's not the good that he dwells on in himself. It's always his shortcomings and where he has perceived failures. 

Bea: Yeah, because his bar — again, it's like you say, it's impossible, but that doesn't stop him from setting that as his bar. Every time he doesn't hit it, he's like, "Okay, I'm filing that moment away under my regrets, and then we're going to keep going." He is trying to follow up on that and saying, "I know things got a bit dicey with Dad, the way that he was." And Dean had his own stuff. He's apologizing for having his own issues that didn't allow him to wholly concentrate on Sam and Sam's upbringing.

Remmy: And then he apologizes for not always being there, and he's asking Sam to understand that when he wasn't there, it was because — it wasn't because he chose to leave. It was because his dad sent him away, which, this is new information, kind of.

Bea: I know, hey? It's one of those things that we can be suspicious of as much as we want when we're setting up backstory, or when we're thinking of what these characters have been through. But now we have Dean explicitly saying that, yeah, he would get sent away when John was pissed at him.

Remmy: And we — okay, I'm circling "Unfortunate Implications".

Bea: [laughs]

Remmy: Because that one line where Dean says — he's apologizing, right? And my first question is, "What are you apologizing for?" Because Dean, you were the best brother, but then he brings up John and he says, "I know that things got dicey with Dad," and that one line just f****** — galaxy brain. 

Bea: [laughs] 

Remmy: What are you implying there? What he is apologizing for is the fact that he could not shield Sam from all of John, and it's something that we talk about a lot. Just something that is kind of — something that we can infer about how abusive John was, either physically or you know...

Bea: Good ol' emotionally. 

Remmy: Yeah, emotionally. But here we're laying it out pretty explicitly. I don't know. He doesn't say anything, right? This is why I'm circling "Unfortunate Implications".

Bea: Well, a little bit because he says that it tended to look like Dean was taking John's side because he was just trying to keep the peace in this house. But, again, implications there. It's like there is some heated argument and Dean has to go with John's side if there's going to be peace to keep. “This isn't a democracy” is what this is coming out to be. If Sam and Dean were on the same side opposed to John? Cool, then they're both wrong.

Remmy: Yeah. Oh, I didn't circle "Shirtless Torture". All right, there we go. Victim number two had his shirt torn open. So yeah, I'm counting it. 

Bea: Yeah. 

Remmy: I'm working through this flask at a pretty good clip. We're going to need to speed this up. [laughs]

Bea: Okay. We're on like 10 minutes in. 

Remmy: Oh my gosh. Okay.

Bea: It's fine, it's fine. It's fine.

Remmy: With John, was there anything else to that?

Bea: Really, just the way that Sam seemed almost upset that Dean was bringing this up. He said that he left that all behind; he had to leave that all behind him. 

Remmy: They both get a bit teary-eyed here. 

Bea: Yeah, and Sam's taking this as deathbed apologies. I feel like Dean is really trying to apologize. He's really looking for forgiveness to those failures that he's held [onto] for like 35 years. 

Remmy: He's running through, you know, he — this isn't...

Bea: "Regrets. I've had a few."

Remmy: That's exactly what it is. It's a deathbed apology and Sam...

Bea: "Can we not?" 

Remmy: Yeah.

Bea: And Dean being like, "Okay..."

Remmy: Yeah, because it's nothing that Dean didn't say to Sam. "Let's not think about it. Don't let your emotions get the better of you. I don't want to talk about it because if we talk about it, then it sucks." You know, this is a s***** situation.

Bea: But I'm like, Sam, this is a vulnerable moment. Your brother is showing that he's thinking about the consequences of his choice and what it's going to be like — at least from a selfish aspect — for him. He's knowing that he's going to leave and not be able to talk to you again, and he doesn't want there to be any bad blood or anything that he's going to dwell on for the next eternity being like, "I really wish I could have said I was sorry to Sam about it." And Sam's just like, "This is way too uncomfortable a feeling and I'm going to push it aside."

Remmy: I don't know how I felt about how Sam reacted here, because I thought that he was — because he was just deflecting in the same way that Dean's been deflecting but it didn't... I don't think it necessarily fit with...

Bea: His deflecting was more like, "You don't have to apologize," but I'm like — that's very true, but Dean will not see it that way. So that approach, I feel — I mean by the end of this scene, it doesn't feel like there's any tension around this. So I think that Dean definitely did hear a bit of what Sam was saying, but it did feel like there... Sam was definitely doing his part to try and reassure Dean that there was nothing to apologize for and I just worry, I suppose, that Dean is someone that maybe the apology worked in this moment but 15 minutes later when the buff runs out, he's going to be back to thinking that he owes an apology. 

Remmy: I would think that it's more Sam tries to reassure Dean that he has nothing to apologize for, but that's not what Dean is looking for. He's not really looking for reassurances for himself. He is trying — just the act of getting it off chest, the act of trying to put on to Sam, you know, "I didn't want to leave. I didn't want to not be there for you."

Bea: "This wasn't the upbringing that I wanted you to go through. I tried to protect you from it and I just couldn't."

Remmy: And I think that he just wanted Sam to understand, and I think that's why it was, in Dean's eyes, it was a successful apology. But Dean is not, on the flipside, going to accept any redemption.

Bea: Yeah.

Remmy: So they're both like — it's just going straight over their respective heads.

Bea: Yeah, there's a bit of common ground being found, but at the same time there's icebergs. There's so much below the surface.

Remmy: Yeah. Yep. We are back at the hospital.

Bea: Yes. Nick is praying and the cop comes in and sasses him for it.

Remmy: He says — well, what Nick is saying is, "Please answer me. Answer me. You owe me that at least," and the cop comes and says, "Praying to God is not going to help you now, buddy."

Bea: Nick's kind of like yeah, no s***. "I'm not talking to him."

Remmy: Uh-huh. We know who he's talking to but... [cringes] Nick sasses — well no, Nick doesn't sass back. Nick says, "I gotta tinkle."

Bea: Yeah and the cops like, here's a bedpan. And I've just — "Nick dignity??"

Remmy: [laughs] Nick does not want to pee in the bedpan. He wants to stand up. He says, "I'm in cuffs. You have the gun."

Bea: "I have a bum leg."

Remmy: Yeah. "What am I going to do? Have some compassion, man.”

Bea: That's never a good argument to listen to. A criminal or a murderer say[ing], “What can I do to you?" I'm like, “Plenty. I'm sure of it.”

Remmy: Uh-huh, but the cop begrudgingly comes over [and] unlocks the cuffs from the hospital bed railing. The second that those cuffs are undone, Nick headbutts the officer straight in the nose, and the officer goes down, and Nick, I don't know — kicks him a bunch?

Bea: Nick kicks him in the face and knocks him down to a death rattle status. He's still alive, but that is a terrible sound as he's breathing.

Remmy: [sighs] Barefoot!

Bea: He kicks him though.

Remmy: With his bare foot.

Bea: With his bum leg!

Remmy: Oh, with his bum leg. Really?

Bea: Yeah.

Remmy: Holy s***.

Bea: [With] the leg he was shot in, he kicked this cop down.

Remmy: All right. I was going to save the "Continuity Error" square for the prophet bulls***, but hey, here we go. "Continuity Error", yay. Okay. I have them.

Bea: I'm going to run out of this drink before we get to the end.

Remmy: That's all right. You can get another.

Bea: I think you're having more fun than I am though.

Remmy: [laughs] Oh darn. I'm two away from a bingo, but I don't think I'm gonna get this one.

Bea: Well, hope springs eternal. We'll see how it goes. So yeah, he kicks the cop, he goes [and] grabs his clothes, and he shuffles on out of there. He's done.

Remmy: Yep.

Bea: And then we're back in the Impala, and here we find out that Sam has found a case for them and it's on the way. It's at Fort Dodge, Iowa and "If we can help, shouldn't we?" and Dean's a little like, "Okay, you're looking for cases? You realize that's not what this is about, right?" But he warms up to it and he likes the idea of "one last case for the Winchester boys," and I'm like, when have you ever thought of yourself of that?

Remmy: [laughs] Oh. Oh, wait, where'd it go, where to go. "Flat One-Liner." Got it.

Bea: [squeaks] Remmy, slow down for your own sake.

Remmy: Nope. [laughs] Yeah, and Sam's like, "Really? You had to bring it there? Really?" but he says it, you know, it's kind of good natured.

Bea: A little teasing, yeah.

Remmy: Yeah, a little teasing. So yeah, they're going to take this case, and Sam starts to go into the details of the case.

Bea: Yes, there was a victim a couple nights ago, and then one just tonight. The one from before, they — the cops, would they really say it like "bloody saltwater" or would they just say water?

Remmy: Yeah, and then on the bloody saltwater, Dean says, "Like seawater," and Sam says, "Yeah, but there's no sea," and...

Bea: [sighs] I'm glad that was explained to us.

Remmy: Anyways. [laughs] Anyways.

Bea: Yeah, so there's the bloody saltwater. There's the quote unquote graffiti on the victims. Sam loads up the picture and lo, it’s Enochian.

Remmy: Yes. Yes it is. And did we call Cas right here, right now?

Bea: Nah.

Remmy: Okay. Okay, because I didn't know if we knew what the Enochian was or do we just say, "Oh, that's Enochian. Oh, this is definitely a case. Let's go," and then zoom off into the distance?

Bea: They know it's Enochian, and from the next scene we get the — well, we know, or we get the impression that Sam is able to read the Enochian that's going on.

Remmy: Ahh.

Bea: Because right away they are doing their FBI personas, and they've gone to talk to the latest victim, Alan, his twin brother, Eddie.

Remmy: Yeah, it's daytime now. We're in Fort Dodge, and we're pulling out the FBI badges.

Bea: Yeah.

Remmy: And Eddie. [laughs] Eddie and his big brother sob story.

Bea: I want your thoughts on how they decided to introduce us to Eddie here. Because they have taken the FBI personas, and we see from Eddie's perspective the door opening, and then we just see Dean even though Sam is talking.

Remmy: Yeah, so Eddie only opens the door halfway and we're seeing it from Eddie's point of view, and we only see Dean. You're right, Sam is covered by the door. What... what am I supposed to get from that? [laughs]

Bea: I don't know! Because that choice there, I was like, is it choosing to show one-half of a quote-unquote whole? We're seeing Dean. We're not hearing him. We're hearing Sam, but we're not seeing him. Is it just these incomplete elements? I don't know.

Remmy: Well, then they should have put Sam in Dean's place and just have seen... you know.

Bea: But are we visually now seeing what we're going to lose, you know? [whispers] I don't know. Is there a metaphor?

Remmy: [laughs] I don't know.

Bea: Please, someone smarter than me tell me.

Remmy: A hidden metaphor? I don't know if we're playing that smart, because as we hear out Eddie in this scene — as we're learning about Eddie and the victim, Alan — we get Eddie's big brother sob story and [it's] so heavy-handed with the parallels.

Bea: Just in case we weren't sure.

Remmy: Yeah. So Eddie says, you know, he's crying on the couch and Sam's got his sympathy face on. And Eddie says, "We were best friends. We did everything together. I can't believe he's gone.”

Bea: "He's my big brother even though it was only four minutes," and I'm like four minutes, four years? Yep, I'm drawing the lines.

Remmy: Ohh, I didn't even catch that.

Bea: Again. 2012 Tumblr. Here's my essay about the door f****** being open.

Remmy: Uh-huh. Just by four minutes. "He always said he was my big brother and he always looked out for me," blah de blah de blah de blah de blah.

Bea: "Losing him was like losing a part of myself."

Remmy: And "I didn't think it was gonna be this hard," or, "I could never have known that it was going to be this hard to lose my brother in this way." And Sam and Dean, and it's just — and they're both like, I don't know. Sam has his sympathy face on but Dean is kind of just taking it.

Bea: And again, the camera here, what it's doing is — Eddie is a blur in the corner as he's talking. We're looking at Sam and we're looking at Dean, so we're like, "Yeah, I've seen the dots and I've drawn the line. Thank you."

Remmy: [laughs] Uh-huh. Uh-huh.

Bea: So now Sam brings up that it wasn't graffiti on Alan's body. It was actually an ancient language and he translates what it says to, "I am the word," and in not so clear of terms just goes, "Are you guys religious? Do you know anybody who's religious?"

Remmy: Yeah. Eddie says, “No, we're not religious. Alan wasn't really religious. Most of our friends are just Easter and Christmas Christians, except for one guy.”

Bea: Yeah, their friend Tony. He started getting a little weird, and I was having trouble placing what time frame was going on here. They said that Tony started quoting scripture and just really getting into religion. And when Eddie goes over to the mantle, he picks up this photo that shows Tony, and he has a tattoo on his arm in Enochian that says "The Word."

Remmy: Yeah and again, the timeline. I'm like — he says, "Here's a picture of Tony before he got too weird." And it's Tony and Alan, and Tony has that Enochian tattoo and I'm like, did he start hearing his Prophet voice and then...? You don't have to be religious to be tapped as a prophet, right? So why would he have that tattoo?

Bea: Who gets photos developed in this day and age? In that generation? It wouldn't — if he had pulled up his phone and been like, "Actually," and then swiped to the picture, I'd be like, okay I can get [behind it]. Anyways, I'm nitpicking but still, what kind of timeline are we working on? Because what we hear about Donatello later says [it’s been] only a couple days, and we know that Tony's behavior — I mean spoilers-not-spoilers — was heightened in the last couple days. So what was happening before then?

Remmy: Yeah. Oh well spoilers-not-spoilers, I've been dropping the word ‘prophet’ for the last 10 minutes now, so whoops.

Bea: [laughs] "Prophet and Loss" is the title. If we can't use the word, then we've — who are we as humans? [laughs] So yeah, we kind of settle on Tony as the suspect of the moment. So Sam and Dean leave the house and they're bouncing back and forth about what this could be. Could it be an angel? I mean, if it's an Enochian killer, but Dean’s saying there's not many of those around and it could just be a person. And so they decide to call Cas, and by "they" I mean they sit outside the Impala. Sam looks monstrous in the passenger seat.

Remmy: [laughs] Hey, I loved the framing of this shot.

Bea: I really loved it too. But it just reminds you of how tall he is when he's sitting there and his knees are up to his shoulders. I'm like, Oh my God.

Remmy: Uh-huh. We have Sam in the passenger seat, he's sitting with his legs outside the car, and Dean is down by the you know, by the — oh my God.

Bea: The passenger rear.

Remmy: Yeah, the passenger rear. Sorry, the "rear" was the word I couldn't pull out of my head.

Bea: The car butt.

Remmy: [Dean's] by the passenger rear, and he's leaning on the Impala and he calls Cas. Cas answers the phone and Cas, coming for my life with his... [sighs] He's so...

Bea: He just jumps.

Remmy: So. Happy. "Dean! So glad to hear from you."

Bea: Yeah.

Remmy: Oh my God, smiling. It sucks. I hate it. [laughs]

Bea: Yeah, he's just leaping at the chance. "Oh my gosh, we're talking!" and Dean's taken aback like, okay, what has happened to garner this? But Cas is just running his mouth here. He's like, "I'm so happy you're on a case," and ergo you're not following through with your stupid plan.

Remmy: Yeah, and oh my God. Cas just outs Sam immediately.

Bea: Yeah, and Dean's face as this is going on; he just looks over at Sam like, "Mhmm. Mhmm."

Remmy: [laughs] Right? And Sam knows.

Bea: Sam's not looking. [laughs]

Remmy: Sam's got a little busted face on. Um, but Cas — really, he just couldn't let this opportunity pass, right? Because he says — at first I was like, "Oh, Cas, just so oblivious to the social norms that it was supposed to be a secret," so he inadvertently busted Sam, but no. Cas says that, "I know that I'm not supposed to know," basically, "I can't let this opportunity pass. I have to take — I have to say something." Cas has Dean on the phone and Cas said just earlier, "Let me talk to Dean. Maybe I can do something," and this is his chance and he's not going to let it pass just because Sam wasn't supposed to tell him.

Bea: Was this Cas' strongest foot that he could be putting forward? Because he really felt like [an] overeager puppy as he was talking.

Remmy: [sighs] I don't — 

Bea: [whispers] I have so much salt everywhere.

Remmy: [laughs] Okay, talking about salt. Should I mark this as "Something Easily Interpretable as Queerbaiting" or "Something Easily Interpretable as Dean/Cas"? Hmm...

Bea: Hmm...

Remmy: No, not — I don't think we've reached those levels of blatantly gay yet, so...

Bea: No. And it wouldn't be queerbaiting. No.

Remmy: No. So, I don't know. It was really nice to see Cas so...

Bea: It was — he was effusive. He was just light, and we never get to see him happy. I was like, "Holy s***. Watch out for the Empty."

Remmy: Yeah, he was, you know, he seemed really happy, but this is an odd time to be thrilled just to have Dean on the phone. [laughs]

Bea: Yeah. At first would it be like, "Oh, this is my last chance to talk to you," and then, "Oh you're taking a case? Oh, thank God," but I'm like, what logical leaps you're taking there, son? It brought [him] to this bit of the conversation. So yeah, Dean realizes Cas knows and Sam told him, and he says that his plan is fine. And Cas is like, "Nope. It's a mistake," but Dean is really —

Remmy: Oh my gosh.

Bea: Dean is really just "I have s*** to do right now." He mentions Tony Alvarez's name and Cas says that he's the next prophet in line after Donatello. He really wants to push and discuss Dean's plan with the Pacific Ocean, but Dean is very, "Not right now. I'm busy," and g’bye.

Remmy: Yeah, "Not right now. Yeah, we can talk about it later. We got to focus on this case. We gotta figure this out. Thanks for your help. Bye." But he does — okay. Well, he does say, "it was nice talking..."

Bea: "It was nice to hear your voice."

Remmy: Not even, "It was nice talking to you," not even like — okay. F*** you. That's "Something Easily Interpretable as Dean/Cas".

Bea: [laughs]

Remmy: It was nice to hear your voice? What the hell is that?

Bea: Well, okay — Cas was like, "It's so good to hear your voice," and Dean was like, "It's nice hearing from you too," or something like that. I didn't write it down.

Remmy: One of them said it's nice to hear. No, OK —

Bea: Cas says, "It's so good to hear your voice."

Remmy: No. No. Is it? Oh, yeah, it is — damn it, that — okay. That's something that I would accept Cas saying but Dean just says it was good to hear from you. You juked me, Bea. You juked me out.

Bea: I did not!

Remmy: I'm going to mark you down for queerbaiting.

Bea: [laughs]

Remmy: No, I won't. I'll leave that one blank.

Bea: For now. So, yeah. Dean just is looking at Sam and Sam — "Dean, it's Cas. I had to tell him," like it's a no f****** brainer.

Remmy: Uh-huh. Exactly. Sam's just uninterested in Dean's stupid reasons for not telling his family.

Bea: Yeah, and so they start speculating about the nature of a prophet. Sam says, "Okay, there's no background check to being a prophet, so who's to say that a killer didn't get tapped to be the next one?" But if he's getting tapped, how? Because — I mean, did Donatello die and we just didn't know about it? Okay, that's bad checking up on your friends, right there, if you didn't know. [laughs] 

Remmy: [laughs] I know. I know. Well, we have Dean. He says, "Let's find out," and he pulls up his phone and he calls a Dr. Rashad and he says, "Hey, it's Dean Winchester. I'm calling to check up on Donatello," and we only hear Dean's side of the conversation. He says, "Yeah. Yeah, we've talked before. Just checking up on my uncle Donny," and Dean says, "He's still alive, right?" [laughs] 

Bea: I know! [laughs] 

Remmy: And we get a little nod from Dean like, mhmm. "Okay. Well, let us know if anything changes," and he hangs up. 

Bea: Yeah. "That's all I wanted."

Remmy: Just. “Just thought I'd ask.” And yes, he's still alive. He's still kicking. So it doesn't really make sense that there would be another prophet up to bat when Donatello, as the current prophet, is still alive.

Bea: Yeah, so they still have a bunch of question marks around this theory. But hey, they know Tony is the likely suspect, so they go to his house and it's at nighttime, of course, when they break in. They're out of their Fed suits, they're back to their good ol’ flannel, and scoping out his place. Dean finds a room and the walls are covered with Enochian, and there's also some pictures up on the wall. Sam finds on the table some victim photos too.

Remmy: Yeah, total psycho murder room.

Bea: Getting Se7en vibes. Yeah.

Remmy: Oh my gosh. It's like — well, okay, so we have the pyscho murder room, and there's writing on the wall with lots of helpful Enochian-to-English translations so we don't have to do much work. He's got the scribbles on the wall that actually say all of the verses that he's been murdering people to, I guess, mirror from the Bible.

Bea: Yeah. Well, it's what he's been hearing in his head, supposedly. And the photos on the wall, [Sam and Dean] are also kind of like, "Okay, so are these going to be future victims?" Like you said, Sam's reading the wall, he sees all of [these] Bible verses and they settle on this one photograph of the first victim. She is on this box that, in visible writing [atop it], there's "Sphinx Machine Shop".

Remmy: Yeah.

Bea: So they have a location.

Remmy: Yeah, but we cut to Tony and victim number three.

Bea: Yes. There's a dude strung up and Tony with a gas can.

Remmy: Oh my gosh, and we saw on the wall about the fires of God and the cleansing fires of God, so we know where this is going. Joy.

Bea: Yep.

Remmy: And this guy is strung up. He's pleading with Tony. Tony is just doing his vacant-eyed recitation.

Bea: Chanting, yeah.

Remmy: Yeah, and he is putting down a gasoline path to his captive.

Bea: Yes, and he says, "Pain becomes salvation," and then he lights this gas trail and I'm like, it is moving way too slow for fire.

Remmy: Oh, one second. "Someone is Held Captive and Needs to be Rescued", all right. There we go. All right. Drink up.

Bea: F******... I'm gonna run out.

Remmy: He lights the fire and it starts crawling along and the guys start screaming.

Bea: Yeah! Do people not know how fast the fire f****** moves down a string like that?

Remmy: Faster than that.

Bea: Maybe the city folk don't do it, but us country folk...

Remmy: [laughs] Wait, wait. Do the Winchesters count as a “Deus Ex Machina”?

Bea: Hmm. They do show up right at the perfect time.

Remmy: Ehh? Ehh? Can I count it? You have to be my judge here.

Bea: Do it. Do it.

Remmy: Alright, I'm counting it.

Bea: Do it, because Sam grapples Tony to the floor and Dean, he smothers out the fire and he cuts down the dude. And then Tony kinda —

Remmy: [Dean] tells him to run.

Bea: Yeah. "Get out of here! Goodbye."

Remmy: Yeah.

Bea: And then Tony is subdued, so Dean punches him and is basically berating him, saying that "Whatever you heard, it wasn't God. You're not chosen. You're just a psycho." And I'm like, whoa...

Remmy: Yeah.

Bea: Whoa...

Remmy: Yeah, and you know what? I hated all this; this is really bad dialogue, but whatever. So Dean says, "Whatever you heard, it wasn't God." I'm like, okay then, what is it? If he's hearing voices — if he's hearing prophet voices, then what is he hearing and why is he killing people for it?

Bea: Yeah! I have a lot of thoughts about the fact that they chose to go this killer route. Like I — when I first heard of the preview for this episode, the description that you gave, I was thinking more along the lines of — okay, Donatello's in a coma and so the next in line for prophet-making-whatever is scrambled. So what I was picturing was everyone who was down the line who could possibly be tapped would have all been quoting scripture, or just in this flux of being tapped or not. Not like — because what about being the prophet makes you want to kill?

Remmy: I know!

Bea: What about that scenario says now he wants to kill? If you're just having Bible quotes show up in your head and you're like, "Okay, these all to do with retribution, God's wrath, all of that stuff," how far does it have to go for you to be like, "Okay, cool. I'm killing people now."

Remmy: Give me a Kevin. Give me an Anna, who started hearing these voices and yeah, got a little scrambled from it, but didn't, you know — they went cuckoo but...

Bea: Yeah.

Remmy: They didn't kill people.

Bea: I was thinking, okay, there's s*** that you could have done where maybe it's Donatello's consciousness that's now being smashed in between all of these different prophets. I just felt like there was so much room to play with the concept that I was really disappointed to find this whole prophet mismatch [happening meant] now they're killing people.

Remmy: Yeah. Yeah. It was pretty lame, honestly. And it didn't make sense for the prophets. Dean lays into this guy, he says, "You weren't chosen. You're just a psycho killer," and I'm like, "He was literally chosen!"

Bea: Yeah, he's literally next in line.

Remmy: [laughs] He was literally chosen, like, what the hell are you even saying? Whatever.

Bea: Yeah. I have a lot of frustration about the way that this played out because, like I said, there's so [many] interesting, unique ways that they could have gone with it and we just went the blood and violence route again.

Remmy: Yeah. Blood and violence. I'm telling you, I need a new — I need to make a Buckleming Bingo 2.0.

Bea: [laughs] But yeah. So Tony hears this, and he just starts going like, "No, no, no," and so he tackles Dean, grapples away one of the guns, and he's holding it and all of a sudden Sam and Dean are... alarmed? Like, "Oh s***," hands above our heads and then —

Remmy: I know, right?

Bea: Nope. Tony uses it to kill himself and I wrote down, Ain't that convenient?

Remmy: Uh-huh. [laughs] Aw. Well, yeah, they — he gets the gun. Both Sam and Dean try to placate him. But, you know, he just...

Bea: After being like "You're not f****** special. You're not listening to God, and you were just killing people."

Remmy: Yeah...

Bea: "BTW don't kill yourself."

Remmy: Yeah. Yeah. But nope. Nope, nope. Close but no cigar. Man. Okay, we're back in the Impala — I mean, that's it. That's it. There's nothing else to say about this.

Bea: No.

Remmy: [sighs] It's fine.

Bea: Because they're driving.

Remmy: Yep. Yep. Yep.

Bea: Sam's on the phone with Cas and they're speculating. "Okay, so the next prophet could also be this way?" That basically there's a glitch in the prophet code now because of the way Donatello is. Cas says that the natural order has been upset and so prophets might be getting called before their time, and he's even says, "Premature, malformed prophets because of Donatello." That's a really bleak view to put [it]; we have a person who is in a coma and now they are warping people, so we have to kill the person.

Remmy: Yeah!

Bea: Because they go and say, "How do we end this?" That's what Sam asks, and Dean says, "You know how." So I'm kind of — [increasingly pitched noise]

Remmy: I'm telling you, from this point of the page down, every single one of my notes ends in an all caps "Like — But — Uhh?? — Okay so — What??"

Bea: [laughs]

Remmy: No, no, no. Sam — Okay. Let's bring it back up. Let's bring it back up. This is not healthy. [laughs] Sam says, "Well, Tony was just the next in line, so does this mean that as long as Donatello is alive then this is going to happen to the next prophet and the next prophet and the next? What is going to stop it?" And Dean says, "You know how we're going to stop it," and I'm like, okay, but Dean, you were the one who was all super mad at Cas for having —

Bea: Yep!

Remmy: — blasted Donatello out in the first place!

Bea: Yeah!

Remmy: Oh my God.

Bea: And you're like, "Well, we've been paying his room and board at this nursing home for the last year."

Remmy: Also, a nursing home? You don't have someone on life support in a f****** nursing home!

Bea: They have a specialized doctor there, obviously. [laughs]

Remmy: Get your s*** together.

Bea: Dr. Rashad is there and he's fine, and when they say, "Let's pull the plug," and then they push a f****** button and they're like, "Okay, looks like we did it!" I'm like... [inhales sharply]

Remmy: [wails] Okay. Okay. Okay. Wait. Okay. No.

Bea: We're fine. We're coming back. We're coming back.

Remmy: I'm taking a shot.

Bea: Let's go back. Let's go back.

Remmy: Nick breaks in — [empty can noise from Bea] Was that the end of your can there? [laughs]

Bea: No, no. No, my can is still here. I feel like this episode is killing me.

Remmy: Nick breaks into this old house.

Bea: His Pike Creek home.

Remmy: We see very soon that he's getting these flashbacks of his old life, and we are to infer that this is his old Pike Creek home.

Bea: Yes, and it is conveniently empty, but with the power connected.

Remmy: [laughs]

Bea: You can't see my face, but you can guess it.

Remmy: Oh, I can hear it.

Bea: Yes. And so as he's having these flashbacks, he feels a chill. There's glass frosting over; the cupboards are pounding. The lights are flickering. Behind him is a figure speaking to him.

Remmy: So we get the chill in the room. We get the frost that completely covers this mirror, and I think that, you want to talk metaphor? That's a f****** metaphor. So this frost starts crawling up the glass of this mirror and it totally obscures Nick, and Nick runs his fingers through it. He turns around and this woman steps out. Before we hear anything from Sarah — Nick's wife, Sarah — when I saw that frost on the glass, I think it was a direct parallel to season 5, Lucifer's little trick that he — He did the same thing when he was possessing Sam, and he frosted the glass and he was giving his little, you know, "Most would say I run hot, but no, I run cold."

Bea: Aahhh.

Remmy: So that frost frosting over the mirror that Nick was looking into and obscuring Nick, and then Nick, you know, putting his fingers through it just like how Lucifer did on the window of that high-rise in Detroit.

Bea: That makes so much more sense for what follows here, because I was like, how was — When he turned around and he saw the figure there, he goes, "Lucifer?" I was like, how is that his first [instinct]? But like you're saying, it would evoke back to that.

Remmy: And Lucifer initially came to Nick in the form of his wife. So.

Bea: Yes. But I'm like, how was seeing your wife — your first guess isn't, "Hey, is that my wife?" You're like, "Hey, is that someone who is pretending to be my wife?" That's got to be an exhausting life to lead.

Remmy: Well. Well, that's him showing his hand, right? This is what follows in this whole sequence. This is the conclusion that we're reaching.

Bea: She's like, "It's Sarah. Your wife."

Remmy: [laughs] Nick turns around, he says, "Is that you?" and I'm like, uhhh, is it? I have some salty feelings about how this is a totally different actress [than] the original Sarah.

Bea: They wouldn't be able to get the original one because she went on to Scandal. She was playing the president's wife. Like, that's some grade-A s*** going on there. [laughs]

Remmy: Oh my god. Well, then, it just didn't... Whatever, it's fine. Usually I don't care if they sub in an actor, an actress, but oh my God, just for the first line to be, "Is that you?" I just f****** laughed. It was an accidental intentional joke at the fact that we're using a different actress.

Bea: [laughs]

Remmy: And, um.

Bea: Yeah, so let's run through the logic that she's laying out here and then can we look at that bingo about continuity errors again?

Remmy: [laughs]

Bea: Because she's held by unfinished business, which is essentially her unsolved murder. And then Nick says that he never thought he'd see her again, and he's so sorry. She's like, "No, you're not sorry," and Nick tries to explain how he found justice for her and it's a long, meandering story but she says that her unfinished business is also because of Lucifer. She saw that night how he chose Lucifer, wanted him, and how he still does. She wants him to reject Lucifer so she can find peace.

Remmy: Is this queerbaiting?

Bea: Oh my God.

Remmy: [laughs]

Bea: This is Nick. He just wants to slide back into that angel condom status again. He just...

Remmy: So, so.

Bea: I'm, I'm [stammering] I said those words. I'm gonna go wash them out with soap. Excuse me.

Remmy: I'm circling "Awkward Dialogue". This dialogue is so weird. Like you said, the conversation just doesn't track. Sarah starts off with this, "I'm held here by this," and I'm not even going to get into the whole ghost thing.

Bea: I want to.

Remmy: You go —

Bea: I'm not letting you leave without getting into this.

Remmy: You can put words to it, because I don't even know what...

Bea: Just tell me when. Tell me when to pull the trigger. I f****** will.

Remmy: So Sarah initially says, "I'm held here by my unfinished business, my unfinished business being my murder," and then Nick, like you said, lays out, "Oh, I found justice for you." And then she says, "Well, actually, that's not all."

Bea: Yeah. That was the part "a" clause "c". I need you to move on to the next clause. I have a f****** contract keeping me here.

Remmy: Oh my God. She also says — I mean, Nick says, "I'm so sorry," and then she just come straight out with a "No, Nick, you're not," and then doesn't follow up on that.

Bea: Right?

Remmy: It's so [laughs] it's so weird. So she says — she, I guess didn't like...? It just doesn't make sense, this unfinished business that has to do with Nick accepting Lucifer.

Bea: Yeah.

Remmy: I mean, she didn't even frame it as "Are you okay? I just need to know that you, my husband, the father of my son, are free and safe," and that you...

Bea: It was straight-up like, "I'm passing you a note in sixth grade that says 'do you like me or do you like Lucifer?' and you can only check one box."

Remmy: It was so weird. She says, "Show me I'm wrong. Reject Lucifer right now and I can finally be free. I can finally find peace," and... what? [cringes]

Bea: And he goes, [whimpers] "I can't," and was there three manly tears this time?

Remmy: Oh, yeah. He's weeping. He says, "I can't. I can't do it. I can't reject Lucifer. He's part of me."

Bea: And it's all the struggles that I had with Nick's seeming about-face in the last episode; it's all coming back to me because the last one he's going, "I'm not broken. I don't need to be fixed, and this is just who I am. I like killing people," and then this one he's like, "I'm so sorry. I was doing it to find justice for you." So there's so much gray area, this back and forth between is he doing it because he wants to communicate with Lucifer? Is he — does he even feel betrayed because of Lucifer? That seems to be just f****** glossed over.

Remmy: There's just no — again, Nick's story just does not track.

Bea: There's so many different threads and we’re tugging at them at different paces and it's just not keeping the tension the way that you would hope for this story to be woven.

Remmy: Oh my God. Um. We. [cringes] So Nick cannot reject Lucifer —

Bea: When his f****** wife who he quote-unquote has been trying to find justice for is saying, "If you do this, it will give me peace."

Remmy: And — but you know what? I hated this scene.

Bea: I hated it.

Remmy: I hated it a lot, not just because — oh my God. Here, you pull the trigger on your ghostly feels. 

Bea: Thank you.

Remmy: And I'll pull the trigger on my Sarah feels.

Bea: Okay, do you want to go first or should I?

Remmy: No. No, you go ahead.

Bea: Okay. I am sitting here. I'm like, when have we seen spirits that are this old, this attached to a location, that are coherent? That they speak about — that they speak to people? Because insofar as I can tell, the vast majority of spirits are not coherent. They are just machines of regret or vengeance or some primal emotion that holds them in place. And the whole thing about a spirit is that they are tied by something physical, so you can go and find the piece of hair — you can go find the doll or whatever it is that they're attached to — and burn that s*** and let them go. And here she is just no, no, no, "I'm not attached to the physical. I'm attached to an ethical, moral position, and I really need you to believe in this sentiment in order to let me go." This is a lot of smelly stuff right here and it smells a little bit like bull.

Remmy: [laughs] I mean, okay. So there's two — I want to call on two ghosts here. So there was Bobby, who was attached to his flask and he was very aware of himself. He went vengeful. He went a little feral, but he was definitely the most aware spirit that we've ever seen. So that was kind of like this. She was aware of her unfinished business, but she was tied —

Bea: But how? I'm like, at least Bobby has the history of knowing that there's spirits there and knowing the mechanics of it. So you can at least do a bit of hand waving and say that when he died and became a spirit, that there was some knowledge transference there.

Remmy: And said no to the reaper. Oh my God, it's fine. [laughs]

Bea: Carry on.

Remmy: No. No, I assume that to become a ghost you have to reject your reaper and stick around.

Bea: Yep, yep.

Remmy: Which, I mean...

Bea: Why would Bobby?

Remmy: What? No, why would — we know why Bobby did. We had an entire episode dedicated to why Bobby did, but Sarah, I don't know. And then going in on Nick and how he accepted Lucifer? I don't know.

Bea: It just feels so grade school. "Say that you don't like him. Say that you like me," and I'm like, Sarah wouldn't — what kind of agency are you giving her character, when all she's focused on is her husband and his boytoy?

Remmy: Oop, oop. Is this "Sexism"? Can I mark it off?

Bea: [grumbles]

Remmy: No, no, no. Okay fine. And then also —

Bea: If there was sexism, I would put it at the first victim because she was straight-up just whimpering. She wasn't fighting back. She was just very — she was held. She was carried. She was put down nicely in the water, and then didn't struggle while he cut her arm open.

Remmy: Right.

Bea: That was — I was like, hmm.

Remmy: I can't even. I can't even mark it because I hated that scene. It was such an uncomfortable scene. Out of respect for that character that never was, I won't mark the "Sexism" tile on that one. But on the waste of a perfectly good character, which is my bingo, yes it is. There we go. "Waste of a Perfectly Good Character," Sarah. Okay.

Bea: Yes.

Remmy: It was the weirdest straddling of the line of... [No,] it wasn't even a straddling of the line because she just came into the scene and then she just started attacking. She was very antagonistic. She came in as a plot device. She came in [with] the sole purpose of pushing Nick away from his choice, y'know? She made the choice easy.

Bea: She was the wedge between herself and Nick. How do you make a character do double duty where they're like, "I'm going to use me to drive you away from me."

Remmy: It was so bad. She came in, and the reason why the dialogue in this scene was so awkward and so stilted and so ingenuine was because it just didn't make sense for any... wife, I guess.

Bea: Was she just hanging around so that she could b**** at Nick for saying yes?

Remmy: Exactly. And you know what they could have done? They could have made it vengeful. They could have made her [a] violent, vengeful spirit. We would know — we would connect with — 

Bea: "We died because you said yes."

Remmy: Exactly. Exactly. No, she was just talking. [Regarding] the waste of a perfectly good character, we could have done this right, right?

Bea: Yes.

Remmy: We could have had Nick confronted with the spirit of his wife, and the resolution of it all was for Nick, despite it all, to turn away from her, but we — I'm not going to say we made it easy for him. I'm going to say it was lazy.

Bea: Yes. It didn't ever feel like an actual conflict for him.

Remmy: No.

Bea: It just felt like a moment that was going to cement what his character — what suspicions we already had.

Remmy: And the character of Sarah didn't add anything to his story.

Bea: It was attempting to show what we were feeling — oh, what was the episode? 6?

Remmy: It was — Yeah. 7, I think.

Bea: Yeah. It's what they were trying to show in 7, where we saw him kill Frank Kellogg, even though Kellogg wasn't the actual culprit behind his family's death. [He] was just the vessel for the demon at the time. [Nick] said at that time, "I want to keep killing." He just broke it down. It wasn't justice that was driving him anymore. So what was the point of this part here? It feels like those elements that came before in this story, like we said before, they were pulled at the wrong tension. They weren't woven in quite the way that makes them work effectively.

Remmy: And they brought in Sarah here and she wasn't used effectively.

Bea: No.

Remmy: She just came in to, like you said, be the wedge between her and Nick, but it was done so woodenly. I can't.

Bea: It didn't feel like a person who had been married to this man, who had a child with him, who had love and affection. It just felt like... Okay, it's been 10 years or whatever since she died, so maybe there is more coldness to her. But all of these things weren't communicated.

Remmy: Yeah, that's exactly it. If you had brought her in as a vengeful spirit, then that would have been so much better. If she had shown those violent vengeful spirit tendencies, if she had had some driving force behind her resentments.

Bea: And instead of a "reject Lucifer and then I could go," have it be like a "stay with me" type thing and have him go, "No, I want to go find Lucifer."

Remmy: It just could have been — there's six different ways that it could have been done better and I was kind of, you know, we actually — there was a lot of speculation around [this]. We knew that we were going to bring back a character from Lucifer's past, right? 

Bea: Yeah.

Remmy: And there was so much speculation. Is it going to be Meg? Is it going to be Sarah? Is it going to be — I don't know. There was a lot around what that meant, that we were going to — what it was going to look like to bring back someone from that far back. That season 5, Nick-Lucifer time. And then they brought back Sarah, and it fell so flat. It was honestly just disappointing. But! But, but, buppa buppa but. [laughs] What's next?

Bea: [laughs]

Remmy: Sorry!

Bea: So yeah, Nick's hesitating. He won't do it even though she's begging him. He just says, "I can't. I'm sorry," and then Sarah, she goes, "You are him. You doomed me, and you doomed yourself," and he goes, "I know. I'm sorry." It's just the saddest boner that he has for Lucifer right now. And he leaves by saying he's going to go wherever it’s darkest, wherever he is. Again, Nick's back at his emo phase.

Remmy: Uh-huh. Oh my God. I'm just imagining, what if Sarah had Teddy and she was kind, and it was just one big happy family? And then still Nick turned away from it. 

Bea: Yeah. Yeah, basically, what emotions are you trying to evoke here? Because you had a mishmash and it was different harmonics that were canceling each other out. You didn't have them all on one frequency.

Remmy: Yeah, we didn't offer — it wasn't a choice for Nick to make, right? We didn't give him the choice to choose his family over choosing Lucifer. We just drove him away from his family into the arms of Lucifer, and so there was no choice to be made, so there was no big moment. I don't know.

Bea: It... It was something that I saw with my eyes.

Remmy: [laughs] And... Well, Nick is crawling off into his dark hole, apparently.

Bea: Yes. Yeah, "Dear Diary."

Remmy: And we go to —

Bea: — Happy Days Nursing Home. Sam and Dean are talking to Dr. Rasad — sorry, Dr. Rashad.

Remmy: Yeah. Yeah, and they're going down the hallway. And Dr. Rashad is saying, "You're making the right choice. I know it's hard. But sometimes letting go is the right thing to do."

Bea: Yeah and Dean's — again, it feels heavy-handed because Dean's looking at Sam like, "Hmmm. Tell me about it. Sometimes letting go is the right choice? Mhmm. Maybe my brother can listen."

Remmy: Oh, yeah.

Bea: And there's this look at Sam, and Sam has this petite little b**** face back [at Dean].

Remmy: [laughs]

Bea: And Dr. Rashad's like, "Hey, it's so coincidental that you guys are here the same day Dr. Novak's visiting," and [laughs] oh my God. Remmy, pick up from here.

Remmy: So Dr. Rashad says, "It's good fortune that you're all here at the same time," and we have a split-second moment of "We're all here?" and "Oh. Hello, Dr. Novak."

Bea: "Doctor." "Doctor."

Remmy: [laughs] Yeah, we have the 'doctor-doctor' moment from the Winchester brothers.

Bea: And Cas has swapped out his tan trench coat for a white doctor's garment.

Remmy: Uh-huh, a doctor's coat.

Bea: And stethoscope!

Remmy: And he says, "Oh, yes, I'm familiar with Mr. Winchester and —" turning to Dean "— the other Mr. Winchester," and you know what? It wasn't until this exact moment that I even had the thought, but Dr. Rashad seems familiar with this Dr. Novak, right? What if Cas has been coming to this nursing home as a personal physician for Donatello? He's just been someone who's come to check up on Donatello.

Bea: Yeah, that he's a known face around here.

Remmy: Yes, exactly. As someone who has — [sighs]. What if Cas has been going to visit to try to correct his wrong, you know, to check up on Donatello?

Bea: Or at least to just like — yeah, to keep, um... Penance.

Remmy: Keep him company. He's an angel, he can, you know — brain-dead or not, he can keep [Donatello] comfortable. And also, I have a lot of thoughts about the whole brain-dead thing, because we totally throw that out the window, but... [sighs]

Bea: Yeah. If you guys could have done this [earlier]. [Did] you guys just straight-up give up last season? You're like, ‘nope. He's brain-dead. Goodbye. Toss 'em in the trunk. We're driving him off to Happy Days.’

Remmy: Yeah, so they ask... After we have brought Dr. Novak into the hallway, Dr. Rashad goes on to say some things about Donatello's current condition. Dean asks, "So nothing unusual?" and Dr. Rashad is like, "Oh, no, just the usual. The occasional muscle spasm, the occasional babbled words," and I'm like, that's not what brain-dead means!

Bea: No!

Remmy: You don't speak when you’re brain-dead!

Bea: And they normally have him intubated, and yet for the footage that we see from Sam later, that's like, "Oh, we took the intubation out just so that we could listen to him speak scripture."

Remmy: Yeah. Yeah. That's a little bit ahead.

Bea: Yes.

Remmy: So Dr. Rashad is like, "babbled words," and they, you know, [their] ears prick at that, of course. Sam and Dean are like, "What words?" and Dr. Rashad says, "Follow me." Sam and Dr. Rashad go into Donatello's room, but Cas holds Dean back, and we have this conversation in the hallway where Cas confronts Dean about his plan.

Bea: Well, initially, Cas is bringing up how he regrets what happened to Donatello, and he wishes that there had been another way. Dean's like, "Yeah, I know that feeling," and Cas is like, "No. You cannot compare this to your suicidal plan." Okay, so we can use these metaphors two or three times earlier in this episode, but here we get Cas finally lampshading it.

Remmy: Yeah. Yeah. He says, "This is not remotely the same thing. This is insane and suicidal," and Dean says, "I'm not going to talk about this. There's nothing to talk about. It's going to happen."

Bea: Yeah, he's like, "We'll talk about it later," and Cas goes, "Okay, [but] there's not going to be a later. So, is this it? Is this goodbye?"

Remmy: Yeah, he says, "Is this goodbye?" and Dean doesn't say anything. Oh my God, shot to the heart, Cas' face. He looks like he was just slapped.

Bea: Yeah.

Remmy: Because that's what Dean did. He just...

Bea: Exactly.

Remmy: He slapped him with this disregard and it's just... We see everyone around Dean fighting so hard and Dean just can't meet them at it.

Bea: Well, we talked about how this season Cas really came into his own in feeling like he's part of a family. He is no longer being derisive, necessarily, about himself. He seems to be comfortable in the fact that he has a place. And then here is Dean and how he's behaving, and Cas is just basically being like, "Okay, so I wasn't even going to get the courtesy of you saying goodbye. And if you keep on—" like, this is the second time in this episode where Dean's like, "Nah, we'll talk about it later. We're not talking about it now," and Cas' just being like, "Okay, so there's never going to be a time we're talking about it. So this is it, really. This is the last time we're going to talk." I think that if [shivers] if Sam had waited another minute before coming out, you could feel that Dean was bowing a bit beneath this.

Remmy: They're both just waiting for the other to break on "It is this really it? Can this really be it?"

Bea: Yes, and with the way that Sam was trying to break through to Dean at the end of last episode, this is almost the same thing for Dean again. He didn't want to have to face Cas or Jack and explain what he was doing. Then this is him finally face-to-face with Cas, and Cas showing — not just saying but, showing — how this is affecting him. I mean, Dean wasn't able to handle it very well when he sees Sam reacting to it, and he's not handling it well here either.

Remmy: No. No, but Cas doesn't get to press the issue because Sam interrupts. It's okay, Sam, it's not your fault. But Sam comes out of the room and he says, "So Dr. Rashad thought that Donatello was coming out of it. In the past few days he's been more active than usual." Again, not what brain-dead means. But they thought that Donatello was going to be coming out of it, and so they took a video of... They took a video? Anyways, Sam holds up a phone and he shows Dean and Cas this video, and it is Donatello in his hospital bed, chanting [in] Enochian.

Bea: Yes, and I think this goes back to how you're saying earlier [that] you don't bring a victim in a coma to a nursing home. So maybe this was just doctor protocol here. There were like, "Yeah. Oh my God, [this is] something weird. Let's put this on YouTube." [laughs]

Remmy: Uh-huh. Uh-huh.

Bea: I don't know.

Remmy: I don't know. But it's what we needed, because it turns out that this Enochian that Donatello speaking is of the same ilk of the scripture that Tony was hearing. So Donatello [is] sitting here talking about the cleansing fires of God and the Red Sea and the Egyptians’ firstborn sons. And so Cas, seeing this, he comes to the conclusion that Donatello's mind is trying to repair itself and it's trying to put in order all of his prophetic memories, I guess? Yeah. Again, we're just saying words like they are supposed to mean something, but...

Bea: [laughs] 

Remmy: [laughs] But Cas is very encouraged by this new development, even though I have no idea why this would result in Tony going out and killing people, but!

Bea: And how is it happening now? But anyways.

Remmy: And Cas says, "I think I can heal him," and Dean says, "Well, I thought there was nothing left to heal," and Cas says, "Well this is a spark of hope, right?"

Bea: Yeah. "If there's a spark, a hope, I have to try. You taught me that."

Remmy: Oh my God. Yes. Yep. Yep. So he drops that line.

Bea: Yep. No big deal.

Remmy: I know. Oh my God. [He] storms into Donatello's room and tells Dr. Rashad to get out.

Bea: Yeah. They just kick him out [of] there, they're like, "This is my house now!"

Remmy: I know! They're — Dr. Rashad is like, "Oh, I thought you were going to turn off the life support,” and they say nope. Not yet. "If there's a chance that he can fight out of it then we're going to take it," and we cut to commercial break on Dean saying, "Nope. We're taking this shot."

Bea: Yeah, Dean of all f****** people.

Remmy: Yeah. We have all three — Sam, Dean and Cas — in the room, but it's Dean that says, "Nope. Not yet."

Bea: Yeah, so then we cut to Sam and Dean waiting and Sam saying, "You know, if Cas isn't right then where does that leave Donatello? [He's] trapped in his own mind," like... we're doing metaphors again.

Remmy: Yeah. I know. Again. This episode is just one line over and over and over again, and I just don't — it's whatever. So Sam is saying, "Yeah if Cas doesn't succeed then Donatello is going to be trapped in his own body somewhere between life and death for all of the rest of his life," and we're like, okay, we get it.

Bea: Yeah. Coma, Ma'lak box. It's the same thing. Got it.

Remmy: Uh-huh. And he says it's just hard to think about someone being stuck in that position and Dean says, "Then don't think about it."

Bea: Were you not thinking about this for the last f****** year while Donatello has been in a coma? No, because it wasn't convenient to your current emotions.

Remmy: Yeah. Yeah. Dean says, "Don't think about it."

Bea: "Whatever's happening will happen soon."

Remmy: Yeah, and Sam. F****** Sam, again. As soon as he gets that Dean pushback, he's like, "Oh, well, it's easy for you to say," like no, it's f****** not!

Bea: Dean's trying to have this que será será attitude because it's what he needs to keep moving. Sam just being like, "Okay, so you don't want to think about s***?" It's like, "No, I am thinking about this." Again, why was the belittling there?

Remmy: Yeah.

Bea: I think it's trying to build to Sam's later frustration outside, but it didn't track clearly for me on the first watch, and I was still kind of struggling on the second.

Remmy: Yeah. Yeah, it just seems unnecessarily cruel, but Dean does call him on it when Sam says, "Oh, that's easy for you to say," and Dean says, "No, it's not easy, but it's the best I can do."

Bea: Yeah, nothing's changed. “This is what I got to do.”

Remmy: Oh my God.

Bea: So then Sam and Dean go to check on Cas, and he's mojo-working over Donatello. They're like, "What are you looking for?" and Cas is like, "Something!" and then he finds 'something' and brings Donatello back.

Remmy: Yeah, and Donatello's awake, I guess? He seems awake. He's looking around, and then we have the weirdest sequence.

Bea: Yeah, because they bring Donatello back and then they're like, "Well, we got to make sure that he's really back. So let's turn off the machines," and [in my notes] I have, If he dies, he dies — Dean, probably.

Remmy: I know! Sam turns to Dean — [stammers] oh my God, so Donatello wakes up, right, and Dean says, "Oh, Donatello's back. Let's turn off these machines." But then Sam — poor, poor Jared has to deal with this dialogue that he's given [laughs] but it reminded me of the "A key. Must open. A lock."

Bea: [laughs]

Remmy: Sam turns to Dean. He's like, "No, it could kill him," and [laughs] Dean's just like, "There's one way to find out."

Bea: Yeah. "If he dies, he dies." [laughs]

Remmy: And Dean presses a single button that turns off the machines.

Bea: Right? And that's all it takes!

Remmy: And again, Donatello's aware, right, or he seems aware. Except the second that we push the button, he starts to fade. We get this weird soundtrack zoom-in on the heart monitor beep, beep, beep.

Bea: Yeah.

Remmy: And then we get that gasp-resurrection moment from Donatello.

Bea: Yeah. I said, Donny takes a nap and then surges awake.

Remmy: [laughs] It makes no sense.

Bea: Dr. Rashad comes in and is like, "Whoa! Medical miracles are happening in front of me."

Remmy: Oh my God.

Bea: "They never showed us this in med school."

Remmy: I'm still — I have over three lines of my notebook, This is so bad, in all caps.

Bea: There's so much medical bulls*** going on here that they’re handwaving because an angel is involved, but the angel was involved in finding quote-unquote something in Donatello's mind, and then they were like, "It's up to God from here," and well, we know that's not good. [laughs]

Remmy: [laughs] So Donatello is definitely aware now. We see from Donatello's point of view, him trying to focus in on his surroundings. He's looking at Dean. He's like, "... Dean?" and...

Bea: And Dean looks good.

Remmy: Yeah, he does. It's a good shot, right?

Bea: Thank you, Thomas J. Wright.

Remmy: Dean and Cas, as Dr. Rashad is doing a little physical check of Donatello, Dean and Cas have a side [conversation] where they're trying to figure out [Donny]. Dean asks, "So is he okay? Is it him? It's not the evil, possessed Donatello that got us in this position in the first place, right?" And Cas says, "No, it's him. He still doesn't have a soul but it's the regular Donatello." And they're like, "Okay."

Bea: Yeah, and the thing that got me was okay, so Donny's eating Jello, and at first you're like, his hand is moving in not a straight pattern, and he seems a little zoned out, and so that's where they're like, "Is he okay? Do you want more Jello?" and then he just recites, "Oh, yeah, I want extra crispy buffalo wings and I want this extra sauce," blah blah blah. I was like, holy s***, and then they're like, "Maybe he's possessed." [laughs] That was Dean's reaction. "Is he okay?"

Remmy: I don't — okay, quick salt round, but Donatello is a Buckleming creation or a Buckleming play toy.

Bea: Chew toy.

Remmy: So Donatello is usually written as the “kooky professor prophet guy who has a bucket of chicken in his hands at all times.”

Bea: Yeah. Yeah.

Remmy: Unfortunately. Ooh, "Bad Stereotypes". If only I could circle it for a third time.

Bea: [laughs] Who's stopping you?

Remmy: Mhmm.

Bea: Oh, yeah, but Don doesn't remember anything that happened to them, and so Dean tags Cas to film him in. I was like, "That's... that's nice..."

Remmy: That's appropriate though. Yeah. I mean, it was Cas that put him in the [coma].

Bea: I was gonna say, "I wrecked your brain and then a year later I fixed it. The end."

Remmy: The end. [laughs] And as Dean tags Cas in, he exits the room and we next see him exiting the nursing home. It's nighttime again, and he is approaching the Impala where Sam is solo with a six-pack.

Bea: Yep. He is drinking in quote-unquote celebration. Except tomorrow they're back on track with Dean's plan.

Remmy: Probably feeling about how I am right now with that six-pack.

Bea: [laughs] Are you doing okay there?

Remmy: Oh, I'm fine.

Bea: A real fine, or a radio fine?

Remmy: [laughs] I know. I'm a real fine. I'm good.

Bea: [laughs] Yeah, so Dean is trying to be a bit light about it. He's saying, "I'm going out on a high note," but Sam is salty that Dean is throwing in the towel, and that after everything — including following each other to literally Hell and back — that it means nothing. They're throwing away faith and family, and he throws out this line saying, "They're the guys who save the world. They don't check out of it."

Remmy: Yeah.

Bea: And Sam just doesn't want him to quit. They don't know yet what is going to save the day but they will find it. And again, we're using Donatello as a metaphor here. They were able to help Donatello because Donatello didn't give up fighting through his coma.

Remmy: And this square isn't going to get me a bingo, but it will get me another drink. "Scene Saved by Fantastic Acting".

Bea: Yes, holy s***.

Remmy: Oh my God, Jared knocked it out of the park. Going to be honest, when I first watched this episode — and I haven't watched it since until today — but Sam starts laying into Dean. All those frustrations are bursting out now and when Sam first gave Dean a little shove, I was like, "Whoa — what?" and then he pushes harder and I was like, okay... I was just like, "You lost me there, honestly."

Bea: Yeah, he punches him!

Remmy: Yeah. You lost me there.

Bea: When was the last time that these two were physically violent with each other? I thought we were over this.

Remmy: When was the last time they were physically violent with each other? In all seriousness. Was it season 3 or season 2, when we are first introduced Gabriel as the Trickster? You know, not even Gabriel as a trickster, but just the Trickster. When they got in a f****** pillow fight because of the pranks that were going on? When was the last time that they went at each other?

Bea: There's gotta be moments since then. I'm trying to remember in my re-watch of season 7 if there was anything over Amy Pond, is that the f****** name?

Remmy: Yeah. It is actually. [laughs]

Bea: Oh my God, because I always put Amy Pond with Doctor Who and I don't know enough to fact-check myself. [laughs]

Remmy: [laughs] It's both.

Bea: Again, it was just a verbal altercation with each other. I can't — I just felt like they were past this. I can see that, if you're in a heightened place, that — I don't know. It just felt like a shorthand in the writing to show how mad Sam was.

Remmy: Oh, yeah.

Bea: I would rather not have had that shorthand.

Remmy: I mean, honestly, it's not even that I couldn't accept that Sam's getting physical with Dean. It's that I felt it didn't fit with what was happening. I was just like, "Seriously?" Like you said, it was just a shorthand in the writing, that was that escalation in the dialogue.

Bea: And is it here we want to talk about just how scattershot the characters' approaches to each other were? Because I feel like this the culmination of it.

Remmy: Let me —

Bea: Yeah.

Remmy: But on the second watch, the watch that I did today. I remember — I think that we talked about this and oh my God, listeners, I'm so sorry if we're stepping on toes, but I remember coming out of this episode [and] that everyone loved it.

Bea: Yeah.

Remmy: Oh my God, everyone loved this episode. It was all over the place. There was just good reviews across the board for this episode, and you and I were sitting in the wake of it, looking around like... [laughs]

Bea: We're in some alternate universe here, because what did we watch that was so different from what you guys watched?

Remmy: I honestly remember coming to you post this episode, and we were both walking on tiptoes, like, "It was — it was.. It was okay, right? It was pretty good..."

Bea: Yeah. "How did you like it...?"

Remmy: Feeling out each other [laughs] because we didn't feel [good].

Bea: And then, "Can I be salty for a moment?" And it was like, "Oh, thank God."

Remmy: [laughs] Exactly. Exactly. But I will say on this re-watch today, this ending scene, I did see what everyone else saw in this scene. Jared did a fantastic job. The dialogue didn't ring so hollow to me this time around. I think that I was just mad coming into it, at the end of this episode. When I first watched this episode, I was just primed to dismiss it. But on this re-watch I did like this ending scene. Like you said, I do think that it was pretty scattershot, but it came out good, I think. I don't like that Sam was doing the shove-y and then the punch-y, just because it seemed unnecessary. It's not even like I don't like the fact that they got violent with each other for the sake of them — just for the sake of, "Oh, no violence." It just doesn't fit. I still just don't think it fit.

Bea: Yeah, it felt like going from zero to a hundred and you could have done some steps in between there.

Remmy: And honestly, I was just laughing my a** off when I first watched this episode, at this whole dialogue. Like, what are we doing? We just went from zero to a hundred, right? It just felt disingenuous and weird. I thought it was humorous, not tension-filled.

Bea: I was sitting here really struggling with the fact that if this is what it took to get through to Dean, why weren't you pushing earlier? This, to me, felt like it was in the very similar tone to what we were experiencing at the end of episode 11, where Sam was trying to emotionally reach out to Dean and plead his case, and Dean was so adamant that, "No, I'm sticking to what I'm doing." And then [in] this episode, it felt like it went back and forth, where Sam was either trying to needle Dean about his decision and point out how it was dumb, or he was trying to placate Dean and saying, "No, my hands are tied. You have to work on the research, Cas. That's the only way we're going to get him." I just feel like there was a bit of muddying, again.

Remmy: I agree.

Bea: Perhaps I just have a taste for things being quite streamlined or quite smooth. All those elements tugged tightly together, but I was just really feeling like, "If this is what it took, why weren't you at this level earlier than this?" And why was Dean onboard with trying to save Donatello when we had him in the car on the way over being like, "You know what we got to do," and then Cas is like, "Hey, I have a Hail Mary to try," and Dean's like, "If we have a Hail Mary, we have to try." I'm like, where the f*** is this coming from? This is Sam's line. Not yours.

Remmy: Yeah. You know what? I don't think that Dean, as a character, wouldn't take this chance to try to get the win, but I do not like that the line was given to Dean, just in the writing part of it.

Bea: Yeah.

Remmy: Just in storytelling part of it. It's not that I don't think that Dean would have wanted to go forth and like, "Oh, we have a chance. Let's do it." But on the storytelling side of things, it should not have been Dean there.

Bea: Yeah, I agree with that. I don't feel like there [were] really any decisions being made by the characters that I would sit and be really strung out about, saying, "Why did they do that?" It was more so that the elements that were beaded together, they weren't making a nice necklace. 

Remmy: Yeah.

Bea: It was just the choices that were needed to get from A to B, as opposed to the path that could have carried us from A to B.

Remmy: Here, in this final scene, Sam says, "I believe in us, Dean," and he throws a punch, and Dean is shocked. He's like, "What the f*** was that?" and Sam is just saying, "I believe in us, I believe in us," and he's getting increasingly desperate and he's crying.

Bea: Yeah, and, "Why don't you believe in us too?"

Remmy: Yeah, and he throws another punch but this time Dean catches him and pulls him into a desperate hug.

Bea: Yes, and you can see — oh my God, again. Jared's acting, holy s***.

Remmy: I know! Pretty Jared, I have written down.

Bea: He looked good this whole episode.

Remmy: He did. Yeah, he did.

Bea: A+ good job. Congrats on your face.

Remmy: [laughs] And Dean pulls Sam in and says, "Okay."

Bea: Yeah. “Let's go home.”

Remmy: "Okay, Sam, let's go home." Sam pulls away, he's wiping at his tears, and he says, "What?" and Dean says, "Okay."

Bea: Yes. "Maybe Billie's wrong. Maybe. But I do believe in us." And Cas approaches from the nursing home at this time, and so Dean adds on, too, "I believe in all of us, and I'll keep believing until I can't." So basically he agrees to — he concedes to Sam's point but he tacks on this promise that if the day comes where we can't solve this, if we reach that ‘push comes to shove’ moment, you have to accept this as the end and has to promise to let Dean go.

Remmy: Because Dean is almost saying here, "Okay, we're not at that point yet, but that point can come."

Bea: Yeah. “I'm going to give you your Hail Mary moment. Find it, for the love of God, but the clock is ticking.”

Remmy: Yeah. Yep. So we're putting a postpone on the Ma'lak box. We're not going to pull the plug just yet.

Bea: No. Dean put the plan in motion so that he had a good buffer of time. He knows he can't hold on to Michael forever. So he's like, "While I'm still strong, I'm gonna put this into motion." But Sam's pleaded his case and Dean goes with it. He's like, "Yeah. Okay, you got me here," but he just knows that he's going to weaken as time goes on and so it still isn't off the table, as far as he's concerned.

Remmy: Yeah, and he asks Sam to not do what he's doing here now, and when that day comes, to be with Dean in what has to happen.

Bea: Yeah. "Do then what you can't do now."

Remmy: Yeah. Yeah. Yeah.

Bea: F***.

Remmy: [laughs] He says, "Don't hit me again, okay?"

Bea: Yeah. He just does his cheek-tap thing. It's so cute.

Remmy: I know. Cas gets in the backseat. We're going to go home. Dean gets in the driver's seat and Sam in the passenger seat. And we're off.

Bea: Yeah, and me, I was sitting here. I'm like, how did Cas get here? [laughs]

Remmy: [laughs] Yeah, did he just leave his car? [laughs]

Bea: Well, I was thinking about that, okay? I was trying to find what the reason would be and it's like — because Cas was last speaking to Donatello, and so I'm thinking, "Are they just going to leave Donatello there?" and I was like, no. Cas left his keys so Donatello would have a way to get home.

Remmy: You're fantastic. [laughs]

Bea: This is my decision. We are ignoring the f****** physical repercussions of being in a coma for so long — the f****** tendon shortening, all of that s***. Maybe it's like you said. Cas was making the rounds as Dr. Novak like, "Yeah, just checking on him," and then just uses a little bit of juice and we're keeping that Achilles heel, we're keeping that tendon nice and limber for later. [laughs] Who knows.

Remmy: Uh-huh. Uh-huh.

Bea: So that was my thought. They're just like, "Bye, Donny! You’ll make it home from here, right?" He's like, "Where the f*** am I?"

Remmy: [laughs]

Bea: Because if they left from Iowa... I'm assuming it's gotta be close to Lebanon.

Remmy: We have to — Well, yeah, I don't know how far away Iowa is from Lebanon, wherever they — whatever it was. Something ridge...

Bea: Fort Dodge?

Remmy: Fort Dodge! I don't know how far Fort Dodge is from Lebanon, but I'm like, did you just hop down there in the space of a few hours?

Bea: It's a six-hour drive.

Remmy: Holy s***. That was some fast googling.

Bea: Let me — just wait, I'm getting... It was just Iowa. Six hours and seventeen minutes. It is 380 miles.

Remmy: Oh, that's nothing. All right. All right, you know what, writers? You get a pass this time.

Bea: They can do it.

Remmy: They could do it. [sighs] Yeah, so...

Bea: But Nick, what the f*** was his f****** ordeal? Did he just steal a car and he drove from Minnesota all the way — I'm like, where the f*** is Delaware?

Remmy: [laughs]

Bea: It's by Washington [D.C.], right?

Remmy: Holy s***. Yeah, that would be like a 3-day drive.

Bea: Yeah.

Remmy: Oh my God.

Bea: So what kind of time zones were they dealing with?

Remmy: I guess Nick doesn't have to adhere to the A-plot line.

Bea: That's true. He can work on his own timeline.

Remmy: Uh-huh. Uh-huh. Yeah. Sorry. I kind of derailed you from what you were saying on the weird way that the characters approached this whole Dean issue. Both Cas and Sam.

Bea: And Dean.

Remmy: And Dean? The flip-flop?

Bea: Dean's "you can't change my mind, but please don't try and change my mind because you'll change it."

Remmy: Well, I mean, that's pretty true to life. I mean, there's only so much conviction that a single person can have when you have everyone that you love... He's not made of stone and he knows it.

Bea: No, no. I get that, but it felt very — there was either "you are with me and you can't talk about it" or "if you do talk about it then I..." It was like the element that was used at the end of the last episode, which was "you are either helping me with this or I'm doing it alone," we didn't have that threat at all in the air this episode. It just felt very much like Sam would prod him for a bit and Dean was acting like he was unshakeable, but there wasn't any "do you want me to do this on my own?" I was like, what stopped Sam from pushing until he got his way?

Remmy: Was he afraid that Dean would bolt? I mean, that's why he was sticking around.

Bea: I just didn't get [a] sense that he was afraid of that. I didn't feel that threat at all. That's fine. But again, it's like you're saying, all the characters are making choices that are the characters' choices and I wouldn't really sit and go with anyone as "this is horribly out of character." But as a narrative, the elements aren't dovetailing. They're not the notes carrying each other to new heights.

Remmy: It's a — quick salt round. But um...

Bea: This whole episode?

Remmy: Oh, you mean this episode? [laughs]

Bea: I'm so sorry, but...

Remmy: No, we're fine. We're fine.

Bea: It had to happen eventually.

Remmy: I know. This whole season was so good. I was walking around the house, looking for my headphones right before we started recording, and I was like — I don't know — I was singing the birthday song or something just walking around the house, and my husband was like, "What are you doing?" I was like, "Oh, this is just a really bad episode." [laughs]

Bea: And what gets me, or at least what brings me heart, is that not everyone agreed and in fact, there was a lot of people out there who enjoyed it. So I'm very glad that it worked for a lot of people and I wish I was one of them. But there are definitely elements in here that I really liked, and I think if I sat pieces on their own and [was] just like, "Okay, that happened," then I would be able to sit with it and be like, “Okay. That was okay.” It's just when I sit it as an episode and — I don't know. I just feel the frictional moments that are going on between certain elements and it just doesn't sing to me the way that other episodes have so strongly.

Remmy: Yeah. Yeah. I got too real for my salt round, but what I was going to say is that we started at point A and we knew that we needed to get to point B, and everything in-between just didn't really f****** matter, did it?

Bea: It felt like it was fodder. It was to elevate the struggle that was going on here, when [all it takes is] Dean sees his baby brother crying about him dying and he folds. I felt like that was something that would be obvious or quote-unquote obvious. And so the fact that they just didn't get there —

Remmy: It took us fifty minutes to get there.

Bea: Yeah, and it took Donatello's metaphor — or analogy, I should say.

Remmy: Yeah. Uh-huh.

Bea: Yeah.

Remmy: Yeah-yeah. Well. I mean...

Bea: You got it in one there, Remmy. We got there. It is that everything that went on in this episode leading up to Sam and Dean finally coming to terms, it felt like it was a meandering route to this element that was kind of obvious.

Remmy: Well, that's how I felt when we introduced the Ma'lak box. I was just like, okay. Well, we're not going to do this, so I'm just going to wait until...

Bea: [chanting] Chekhov's box. Chekhov's box.

Remmy: I know! I didn't consider that.

Bea: [laughs]

Remmy: But I didn't. I didn't consider that.

Bea: But yeah, you're right. If you're sitting there and you're like, okay, so what does this mean? We just took a detour now away from the Michael struggle and we're going to focus on this?

Remmy: It just hit me a little bit as filler, but we had some good moments, right? We have some good character moments.

Bea: Oh yeah! And filler's not a bad thing. It's not a dirty word, because we get more character moments when it comes to that. There's this balance between what does the plot need and what do the characters need, and we definitely got a lot with the characters this episode.

Remmy: Yeah. Yeah. Speaking of what we got from the characters. Why don't you tell us about your takeaway?

Bea: Um. My takeaway would have to be Sam and Dean, their conversation when Dean was being retrospective and brought up their childhood. That whole bit there.

Remmy: Yeah, and brought up John, right? Especially knowing — we knew going into this episode that "Lebanon" is next.

Bea: Yeah, and we knew who was the special star that was coming on that episode. And so the fact that this episode decided to show John in I would say a negative light... That he would get pissed off and he would kick Dean out and Dean felt bad that maybe his brother thought that he wasn't in his corner, that he wasn't [up] to bat for Sam all the time because Dean was busy making peace between the two of them. All of those things, you're like, wow, this is Dean being more frank about his childhood than we have seen in ages.

Remmy: And let's think about the last time that we talked about John, right? It was episode 7, "Unhuman Nature", which is also a Buckleming episode, and we had that Dean and Jack moment at the creek, fishing. That was Dean's best memory, right? That was a positive memory —

Bea: [inhales] Remmy, you can't do this to me.

Remmy: — of John. And, um.

Bea: 20 seconds or I'll die.

Remmy: [laughs]

Bea: And then you have to figure out weird coma s*** in order to wake me up.

Remmy: And then to follow that narrative up with this. I'm sorry, I'm looking at my bingo card — "Unfortunate Implications" —

Bea: [laughs]

Remmy: — of all that Dean is saying about John here.

Bea: It speaks to the complexity of their relationship. That Dean could see these elements to his father and [is] like, “These are unsavory,” or, “These are things that I need to protect my brother from.” And yet also, those moments he had with John that were pleasant, they shine so brightly for him. There was so much worship that he had for his father, and then so much fear for what his father would — how his father's behavior would mold his brother.

Remmy: Yeah, and like you said, when we have these insights on the characters, when we have the room in an episode to drop these stories or this new information about the history of our characters, we always just gobble them up, right?

Bea: Yes. Anytime we get to flesh out the backstories of the characters and get more insight into these times that were not shown on-screen, it's just — chef's kiss. I'll say it once, I'll say it again. I love anytime it happens.

Remmy: Oh yeah. For sure. For sure.

Bea: What about you, Remmy? What's your takeaway?

Remmy: What's my takeaway? Um, ah. Jared's my takeaway. [laughs]

Bea: Yes, good one.

Remmy: Jared — Jared serving up the looks.

Bea: He was f****** killer this episode.

Remmy: He was killer this episode, but not just because he's pretty and his hair was really good. No, no. Jared got his moment here. I have a lot of feelings not — like, this is a big salt round, so I'm not going to get into it.

Bea: Yeah, you do a tiny lick off the salt lick here.

Remmy: Uh-huh. Uh-huh. I feel that we don't use Jared as much as we could, both within the narrative and just as an actor.

Bea: And Sam's character really tends to take a seat compared to the focus that Dean gets.

Remmy: Oh, yeah exactly. Dean gets most of the focus.

Bea: And I think that Sam's role in the family is so understated and it's so easy to overlook because he really is the quiet contemplative one. I don't remember what episode it was, but John essentially said [Sam] has this firm backbone within him, and you don't realize how firm he is until he finds something that he cares enough about to pursue. And so it's this episode that brings that into focus again, that he tends to be the more contemplative, the more considerate [one]. He's looking at both sides of the thing and yet when he finds something he's passionate about, that is a line drawn in the f****** sand. You cannot cross it. He was just struggling with making Dean comfortable thinking that that line wasn't drawn.

Remmy: Yeah. Yeah and like you said, on the familial — his role in the familial structure. He is the one Jenga block that's gonna bring that tower down if you pull it out. He is the support.

Bea: He's the net that catches the characters around him. He's so quietly considerate of their positions and it's almost like a tactical element of knowing how everyone's doing. Just trying to keep all of those things going at one time tends to be so hard on him.

Remmy: And it's just the nature of his character or the nature of — I don't know. I don't want to say that the nature of his character makes it so that he's not interesting to write for, because that's just straight-up not true.

Bea: Yeah, that's not true.

Remmy: No, but at the same time the writers don't tend to write for him.

Bea: He lends very well to a support role. But unfortunately that sometimes means that he just sticks in a support role. So it's like you say, episodes like this where he gets to step out and be like, "No, this is something that I am firm about." Like, oh, thank God, we get to see you some more. We saw him at the start of this year, the start of this season.

Remmy: Yeah. The very first episode.

Bea: Yeah, we get to see him do this again.

Remmy: We saw at the very first episode. We saw it a bit with "Nightmare Logic".

Bea: Yeah.

Remmy: We're seeing it here now. I just always loved to see it. This closing scene here — and I had some negative things to say about how Sam was approaching Dean on this issue throughout the episode, but this closing scene, Jared just knocked it out of the park. He really did, and it did really good. It was just really good.

Bea: Yeah.

Remmy: Jared did good. [laughs]

Bea: Jared did good. Yeah.

Remmy: Yeah. Yeah.

Bea: I think that's it. I think we made it.

Remmy: We made it!

Bea: Have you found your Jim Beam resources depleted?

Remmy: I'm not at the end of my reserves, no.

Bea: I finished a while ago.

Remmy: [laughs] Well, you had an easier drink than I did.

Bea: Yeah, that's very, very true.

Remmy: I am totally going to post a picture of this bingo before we air this episode.

Bea: [laughs] Good call. Yes.

Remmy: A little sneak peek promo. So. So, guys. Hey guys, you still there?

Bea: We didn't scare you away?

Remmy: [laughs] We didn't scare you away?

Bea: And just know we are coming from a place of love. If that's ever in doubt, we love the show and even if we are critiquing an episode or maybe had some things negative to say about it, it still is like — because we can see the light in it. We still are finding joy. We had takeaway moments, Remmy!

Remmy: Hey, I had a great time.

Bea: F*** yeah.

Remmy: With a little help from my friend Jimmy.

Bea: [laughs]

Remmy: No, it was a great — I had a great time. And we want your feedback, guys. Hit us up on Tumblr or Twitter, or on our website. We have comment accessibility on our websites. Send us an email.

Bea: Give us reviews.

Remmy: Yeah.

Bea: I mean, we're not pushy about it but reviews really do help us get to a larger audience, and we really appreciate anyone who takes the time to put a word out there for us.

Remmy: Yeah. That was season 14, episode 12: "Prophet and Loss". We did it. [laughs]

Bea: We made it!

Remmy: We made it.

Bea: And we loved it. Despite all evidence to the contrary, we did love it.

Remmy: We always have fun and we hope you guys have fun too. Right?

Bea: Yes.

Remmy: So if you enjoyed yourself, subscribe to us on iTunes or Google or anywhere you get your podcasts. We love to see 'em. Review or hit us up on Tumblr or Twitter or our email, even.

Bea: Yeah, so our Tumblr is nochickflickpodcast. Our Twitter is @nochickflickpod, and our email is nochickflickpodcast@gmail.com.

Remmy: Sure is.

Bea: So yeah. Hopefully we will see you guys on one of those sites there. And if not, we'll see you next week.

Remmy: Yep, next week as we cover season 14, episode 13: "Lebanon".

Bea: The "Lebanon". 300th!

Remmy: Episode 300. It's gonna be fun.

Bea: So see you guys there.

Remmy: Yeah. See you.

Bea: Bye!

Remmy: Bye!

[post-outro stinger]

Bea: And here we find out that Sam has found a case for them and it's on the way. It's at Fort Dodge, Iowa, and, y'know, "If we can help shouldn't we?" and Dean's —

Remmy: [clears throat, muffled coughing] Sorry.

Bea: Is it Jimmy?

Remmy: No. No, I just feel like I have something [sniffles] it's fine.

Bea: [laughs]

Remmy: [strained] It's probably the Jimmy. All right.

Bea: [whispers] It's Jimmy.

Remmy: Augh. We're good.


End file.
